Zeitschriftenartikel zum Thema „Agrarian backwardness“

<strong>English</strong><br />From the agrarian politic history view, the eastern region of Indonesia has a relatively strong competition potential in the global arena. However, since the past five decades, the capacity of socio-economic-politic-culture of the eastern region of Indonesia was degraded to the lowest level. The political planning concern of the central government in the agrarian resource development management is the obstacle point to allow serious implication on social gap and backwardness. The agrarian politic set back in the western part of Indonesia has a heavy influence on the community’s socio-economic livelihood who are depending on local agrarian resources. The prominent ability of several local kings of kingdoms in the eastern Indonesia to perform agricultural trade at a global level during the period of 15-18 centuries has no longer existed. In the future, a strong political support is required to reform agrarian development planning for the eastern region of Indonesia. The plan should cover: First, the vision and direction to establish a strong, self-support, high competitive, fair, and sustainable industrial community based on the existing agrarian resource management. Second, to produce high value of agrarian products, manage by integrated organizations, use high technology and innovation, apply sharing system on collective assets, and select appropriate business adjusted to the existing local agro-ecosystems. Third, strengthen infrastructure networks, support financial institutions, and apply law enforcement in accordance with good governance in a decentralized government administration. Fourth, to establish the community’s rights to express their political opinion and aspiration, to involve in organization (economic, society, and politic), and support on local wisdom. Fifth, to perform policies that integrates agrarian management, safety and defense, and the empowerment of civil society in the eastern part of Indonesia.<br /><br /><br /><strong>Indonesian</strong><br />Dilihat dari sejarah politik agraria, kawasan timur Indonesia mempunyai potensi daya kompetisi relatif kuat dalam “pertarungan” global. Hanya saja, sejak lima dekade terakhir secara sosio-ekonomi-politik-budaya kawasan timur Indonesia berbalik menjadi sangat memprihatinkan. Kepedulian politik perencanaan pemerintah pusat dalam pengembangan pengelolaan sumber daya agraria setempat tampaknya menjadi titik lemah yang berimplikasi serius terhadap munculnya keterbelakangan dan kesenjangan sosial. Kemunduran politik agraria yang terjadi di kawasan barat Indonesia berimbas sangat berat terhadap tingkat kehidupan sosial-ekonomi masyarakat berbasis pengelolaan sumber daya agraria setempat. Kehebatan kemajuan perdagangan produk agraris yang dikendalikan secara politik di tingkat global oleh beberapa kerajaan di kawasan timur Indonesia pada rentang abad 15-18 saat ini sudah hampir tidak tersisa lagi. Pada masa mendatang perlu dukungan politik yang kuat untuk merumuskan kembali perencanaan pembangunan agraria di kawasan timur Indonesia. Substansi perencanaan mencakup: Pertama, visi dan arah yang mengutamakan terbentuknya masyarakat industrial berbasis pengelolaan sumber daya agraria yang kuat, mandiri, berdaya saing tinggi, adil, dan berkelanjutan. Kedua, dihasilkannya produk agraria bernilai tambah tinggi, dikelola dengan organisasi yang utuh (tidak tersekat-sekat), sarat dengan muatan iptek tinggi, penguasaan aset secara kolektif dengan sharing system yang lebih adil, serta pilihan usaha yang sesuai dengan kekayaan agroekosistem setempat. Ketiga, dilakukan penguatan terhadap jaringan infrastruktur, kelembagaan modal finansial, penegakan hukum, serta good governance dalam penyelenggaraan pemerintahan yang desentralistik. Keempat, penguatan hak-hak warga dalam berpendapat dan beraspirasi secara politik, berorganisasi (ekonomi, kemasyarakatan, dan politik), serta pemberdayaan aspek kearifan lokal. Kelima, kebijakan politik yang mengintegrasikan pengelolaan agraria, pertahanan dan keamanan, serta penguatan civil society di kawasan timur Indonesia.

AbstractAnthropology, the relativizing countercurrent to Enlightenment notions of civilization and progress, has long challenged notions of backwardness. By contrast, Marxist-Leninist regimes had no doubts about the world-historical backwardness of the largely agrarian societies in which they came to power, which they sought to transform through rapid industrialization. According to some indicators, this socialist civilizing mission was rather successful. Yet memories are mixed, and complicated by the reappearance of typical features of backwardness in the postsocialist era. This article explores changing political economies and the spatiotemporal imaginaries of elites and villagers in Hungary. Historical and theoretical insight is drawn from Ferenc Erdei (1910–1971), a left-leaning populist whose analysis of rural Hungary has more general relevance. Case materials are presented from a region of the Great Plain that in the longue durée exemplifies the “development of underdevelopment” on the margins of Western capitalism. Civilizational transformations were instigated from the east in the socialist decades, but their vehicle was a collectivist ideology that remained alien. The politics and economics of time now render villagers susceptible to populist imaginaries entirely different from those of Erdei.

Agriculture plays an important role in solving the socio-economic and food problems of our country, as well as in employment. Recent economic crises and the backwardness of the oil sector have also had a negative impact on the Azerbaijani economy. Therefore, our country has recently been paying attention to the development of the non-oil sector. In modern times, labor-intensive areas of agriculture are being developed in our country. There is great potential for agricultural development in Azerbaijan. Since the years of independence, gross agricultural output has increased. Key words: Labor-intensive agriculture, agriculture, animal husbandry, Agrarian-Industrial Complexes, agro-parks

The article examines the essence of foreign economic activity of enterprises, the features and prospects of its implementation in the field of agrarian and industrial complex. Based on the conducted analysis, it is proved that agrarian export of Ukraine plays a significant role in the formation of the budget and GDP of the country, since its share in 2018 was 14.2% of GDP and 33.4% of the total national exports of goods. The dynamics of export-import operations of the agrarian sector is explored and it is found that it demonstrates a positive trend in contrast to the general foreign trade balance of Ukraine. The analysis of the agrarian exports structure in 2010-2019 confirms the growth of the share of the majority of agrarian products types sold abroad. However, Ukrainian exports are mainly oriented towards raw materials, which, among other reasons, is associated with technological backwardness and the limited ability of domestic agricultural producers to purchase modern equipment and technologies due to theirs low solvency. The commodity orientation of Ukrainian exports makes the competitive position of Ukraine in foreign markets vulnerable, since the demand for commodities is unstable and is characterized by significant price volatility. The geographical structure of foreign trade in agrarian products and the possibilities of its further diversification are investigated. The majority of Ukrainian products in Europe are purchased in Poland, Italy and Germany. Significant connoisseurs of Ukrainian products are also Turkey, China, India, Egypt. Ukrainian exports should be expanded to Asian and Eastern countries. The key problems that put the brakes on the development of the foreign economic activity of the enterprises of agrarian and industrial complex and hinder the competitiveness increase of domestic agrarian products in the international market are identified. A number of measures are proposed to promote the further development of the foreign economic activity of the enterprises of agrarian and industrial complex, including the development of appropriate strategies taking into account global market trends, harmonization and compliance with the quality and safety standards of agrarian products, improving the innovative component, strengthening state support (including financial) of the export-oriented agrarian enterprises, improving the investment climate, and more.

The opening of Spain to international political relations in the 1950s and the economic growth that began at end of that decade was linked to the agricultural sector and aid from the United States. American tender was needed to break the technological bottleneck, modernise Spanish agriculture and end the secular backwardness of a key sector for economic development. The aim of this article is to analyse the transcendental importance of US aid in Spanish agrarian development, through the INC colonization policy, machinery import programmes and knowledge transfer. This study is based on the INC documentary collection in the Central Archive of the Agriculture and Food Area of the Ministry of Agriculture, Food and Environment. In the introduction, we describe the situation of the Spanish agrarian sector in the 1950s, followed by an analysis of US aid to Spain in Section 2. In the third and fourth sections, we explain the application of the McCarran Amendment and Public Law 480 in the INC, and in the fifth section we look at the overall effects and impacts of US aid in Spanish agricultural development. The article ends with some conclusions that demonstrate the importance of this aid.

The article is devoted to the problems of overcoming the technical and technological backwardness of the agrarian sector of the region. In modern conditions, the state is faced with the task of ensuring the effective management of the entire national economy, while the agro-industrial complex is one of the most important life-supporting areas. Food supply and well-being of the population depend on the state of the agro-industrial complex. At the same time, the agricultural complex retains the position of a less prepared industry for the transition to an innovative path of development and solving the issue of import substitution under sanctions. On the example of the Republic of Sakha (Yakutia), the article reflects negative trends that impede the development of the industry. The need to form an innovation process in the agro-industrial complex and its transition to a new economic strategy is defined as a primary task.

Abstract Background: In Montenegro, there is a growing awareness of the necessity to further develop sustainable forms of tourism and foster economic development of mostly agrarian northern rural areas. However, this is of the utmost importance not only for sustaining local economy, but also for creating more balanced framework for territorial development. Objectives: Paper aims to set a framework for studying the role of innovations and entrepreneurship in developing sustainable agro-tourism in Montenegro through identifying main resources, obstacles, challenges and potentials of the process. Methods/Approach: The analysis is based on both review of the secondary sources and the fieldwork conducted between June and October 2015 in rural areas of Kuci and Durmitor, as well as the number of interviews with farmers and tourism professionals from the country. Results: The results highlighted the low levels of both entrepreneurial culture and hospitality awareness amongst local population, lack of investments, infrastructural backwardness and insufficient government support as the main obstacles to developing successful and sustainable agro-tourism ventures. Conclusions: Public bodies should create a comprehensive strategy for sustainable tourism development, which should focus on providing incentives, training and support to the farmers eager to diversify their agro-activities through entrepreneurial actions.

The need to rebuild civil society was a prominent theme in dissident writings in East-Central Europe in late socialism, but the revival of this concept deserves close scrutiny and local contextualization. This article identifies two currents in Hungarian debates, one focused on addressing problems of backwardness by opening up paths of material embourgeoisement and the other on abstract liberal notions of associational freedom. It then outlines successive transformations of economic and social life in a small Hungarian town where no industry existed prior to socialism and the dominant political forces were populist in the sense of ‘peasantism’. The agrarian and industrial transformations of the socialist decades were undone in the 1990s. In the 2010s, under governments led by Viktor Orbán, it is argued that norms of civility have been threatened by postpeasant illiberalism. If civil society was the gauntlet laid down to social theorists by East-Central Europe in 1989, the challenge posed by this region nowadays is the theorization of incivility and a new brand of populism. It is suggested that these political processes are driven by the collapse of socialist embourgeoisement and the emergence of a new national bourgeoisie under peripheral capitalism, and that some of the moral responsibility for these developments lies with the unwavering intellectual enthusiasts of abstract liberalism.

AbstractThis paper juxtaposes the epistemological challenges raised by new agricultural technologies in India and China during the mid- to late twentieth century. In both places, the state actively sought to adopt the ‘improved’ seeds and chemical inputs of what USAID triumphantly called the ‘green revolution’; however, in neither country did this imply an unproblematic acceptance of the technocratic assumptions that undergirded the US programme. India and China's distinct ideological contexts produced divergent epistemological alternatives to the US vision, with particularly important differences in the perceived relationship between the sociopolitical and technoscientific realms and also in the understanding of what constituted a ‘modern’ farmer. In India, critics persistently challenged the technocratic state to consider social, political and economic aspects of agrarian modernization, but radical leaders in Mao-era China went considerably further in attacking the very notion that technological change could be divorced from social and political revolution. Leaders in both India and China sought to overcome ‘backwardness’ and ‘superstition’; however, the Indian state held up examples of farmers who exemplified capitalist ideals of modernity through their willingness to take risks in pursuit of profit, while Chinese leaders valorized peasant technicians who combined experience in labour, new technical knowledge and faith in socialist revolution.

This article describes the interpretation of the Qur’an with the theo-anthropocentric paradigm as a solution in responding to the crisis experienced by Muslims in the modern industrial era. The backwardness of Muslims in the current era is more due to their perspective on their religion, which is still within the traditional-agrarian framework of thinking. For this reason, a solution is needed to view interpretation in the modern industrial era. The research method used is descriptive-analytical with the cultural interpretation framework of Cliffort Gertz. The finding is that the perspective of interpretation in the modern-industrial era will always be related to the discourse on the development of Islamic studies, which includes three things; religious texts (Qur'an and Hadith), religion (Islam), and society (Muslims). Through Geertz's conception of cultural interpretation, the Qur’an becomes a symbol of a religious phenomenon that can be understood through the community's social activities. This conception necessitates that the Qur’an is part of that culture and will continue to dialogue and adapt to the changing paradigms of the times. In this context, the interpretation of the Qur’an in the modern-industrial era must apply a theo-anthropocentric paradigm, namely by developing a religious interpretation that is theologically in line with faith in Allah, epistemologically by human experience, and axiologically in favor of human destiny.

I took these pictures while travelling on my motorbike in Southern Italy. Except for the first two (“Caged_N,” a view of Naples from behind the bars of an ancient cloister now hosting one of the city’s universities; and “Ashes,” a view of Naples’ Città della Scienza), they were all taken in the summer. Summer, in fact, is the season during which contrasts and colors are most powerfully sublimated against these lands’ vast horizon, disclosing sceneries made of abandonment, forgetfulness, and stubborn elemental creativity. This is the fate of the South: to be alive in spite of everything, in spite of bad politicians and of colonizations disguised as (short-term) “development” policies. Though, this being alive conveys very much the weight of a problematic life, which is often a struggle against the challenges of space_time_matter. Or, even worse, against the violence of organized crime, as in the case of “Ashes,” given to the flames in 2013 and now slowly resurrecting.Defined by environmental economist Manlio Rossi Doria “la terra dell’osso,” the bone land, the internal territories of the South survive in their elemental combinations, crisscrossed by huge (and often disproportionate) infrastructures that remain often “cathedrals in the desert” (like the majestic Musumeci’s Bridge, portrayed in the picture “Minimo Strutturale”) and by building developments that cover catastrophic events (in this case, the earthquake of 1980) with abstract—and therefore equally catastrophic—solutions (“Piano Regolatore”). In this silent landscape, testimonies from the territory’s “original characters” take not only the shape of abandoned agrarian houses (“Agrarian Reform”), but also that of the surprising inventiveness of ancient ways to create the built environment. This is the case of Basilicata’s historic town Matera (“Matera”), that, from being a site of backwardness and abandonment, has turned today into a UNESCO World Heritage Site and will be the European Capital of Culture in 2019. Resumen Hice estas fotografías mientras viajaba en mi moto por el sur de Italia. Salvo por las dos primeras (“Caged_N,” una vista de Nápoles desde detrás de las rejas de un antiguo claustro que ahora acoge una de las universidades de la ciudad; y “Ashes”, una vista de la Città della Scienza de Nápoles), todas se hicieron en verano. El verano, de hecho, es la estación durante la que los contrastes y los colores se subliman más poderosamente contra el vasto horizonte de estas tierras, revelando paisajes hechos de abandono, olvido, y terca creatividad elemental. Este es el destino del Sur: estar vivo a pesar de todo, a pesar de los malos políticos y de las colonizaciones disfrazadas de políticas de “desarrollo” (a corto plazo). Sin embargo, este estar vivo expresa mucho el peso de una vida problemática, que a menudo es una lucha contra los desafío del espacio_tiempo_materia. O, incluso peor, contra la violencia del crimen organizado, como en el caso de “Ashes,” entregado a las llamas en 2013 y ahora resucitando lentamente. Definida por el economista medioambiental Manlio Rossi Doria como “la terra dell’osso,” la tierra del hueso, los territorios internos del Sur sobreviven en sus combinaciones elementales, entrecruzados por infraestructuras enormes (y a menudo desproporcionadas) que permanecen a menudo “catedrales en el desierto” (como el majestoso puente de Mudumeci, retratado en la imagen “Minimo Strutturale”) y por desarrollos de construcción que cubren sucesos catastróficos (en este caso, el terremoto de 1980) con soluciones abstractas—y por lo tanto igualmente catastróficas—(“Piano Regolatore”). En este paisaje silencioso, los testimonios de los “personajes originales” del territorio toman no sólo la forma de casa agrícolas abandonadas (“Agrarian Reform”), sino también la de la sorprendente inventiva de las formas antiguas de crear el entorno construido. Este es el caso de la histórica ciudad de Basilicata, Matera (“Matera”), que, de ser un lugar de atraso y abandono, se ha convertido hoy en Patrimonio Mundial de la UNESCO y será la Capital Europea de la Cultura en 2019.

Today, in Ukraine and, of course, all over the world, the agricultural sector is an important component of the economy. As an agrarian country with huge natural resources, the agricultural sector in Ukraine is a potential branch of entrepreneurship that needs to be developed. Systematic review of the scientific sources of existing researches in the field of agriculture taking into account the current challenges concerning researches contextualizing on the nature of entrepreneurship and focusing on its role in the agricultural sector is important. The purpose of this article is to substantiate theoretically the essence, organizational-and-legal forms and other basic aspects of the functioning of business structures in the agricultural sector. It was found that entrepreneurial activity in Ukraine takes place in the context of reform and in constant conditions of complication of agricultural production, domestic economic environment and against the background of increasing globalization of the world economy. Intensive development of economic processes in the agricultural sector determined the objective need to adapt entrepreneurial activity to new business conditions due to the limited resource potential of each business entity. It was found that agriculture is a main factor in resource conservation, self-sufficiency, development of rural territories, social and cultural guarantees. However, there are problems that limit its development, such as employment mismatch, lack of effective entrepreneurial orientation and productive investment in the agricultural sector, inefficient credit policy, technological backwardness and underdeveloped infrastructure, imperfect support system, vulnerability of a significant part of the main beneficiaries in agriculture, inability of business structures in the agricultural sector to constructive competition in regional and international markets because of the lack of proper legal framework, etc. It was offered to consider the business structure as an organization that has specific features that allow forming alternative views on the future and combines several aspects of entrepreneurship and a flexible, mobile structure, specific decision-making mechanisms. Creating a business structure in the agricultural sector requires a balanced decision, because the relevant knowledge, innovative ideas, financial support, use of new technologies that are necessary for competitiveness at a global level play an important role in its further activities. Further development of entrepreneurship in the agricultural sector requires the formation of a favorable business environment, effective government support, development of financial support system, improvement of crediting regimes, implementation of regional programs, development and realization of measures for information, consulting and staffing support, infrastructure development, etc.

Abstract This article studies the persistent effects of past agrarian inequality on contemporary voting preferences. Although Western European countries became industrial (and later post-industrial) economies, the political effects of the agrarian cleavage are still visible in those countries in which the agrarian issue was dominant in the interwar period (the industrial laggards). Looking at the spatial variation in voting patterns in the fifteen elections held in Spain since 1977, we show through mediation analysis that areas with high historical agrarian inequality have higher levels of leftist vote. We examine two transmission channels: one economic (related to backwardness); the other political (related to family transmission of political allegiances). A survey analysis provides evidence in favour of family transmission. A brief exploration of other cases confirms the general argument: a similar effect is found in Italy (an industrial laggard), but not in England (an early industrializer).

Besides negative natural processes (erosion) there are emigration and economy backwardness notable too in the mountam villages of Serbia. Development of agriculture is the best way to keep the populatin oand to revive mountain villages. In order to achieve the above mentioned it is necessary to stimulate young peoles return to mountain villages, change the agrarian structure. mark agrarian micro-regions, direct production towards the cattle raising and "healthy food“ , construct small agroin- dustrial sections , improve traffic infrastructure. favor investments into mountain agriculture, etc. By gradual realization of the measures suggested it is possible to activate economically the mountain regions of Serbia.

The article examines the modern prerequisites for the functioning of the infrastructure of the agricultural market. The strategic importance of innovative principles of agricultural market infrastructure development in ensuring the support of the processes of efficient functioning of the agricultural sector, increasing the scale of management of agricultural producers and the implementation of the processes of expanded reproduction is substantiated. The main shortcomings that hinder the development of agricultural market infrastructure in Ukraine have been identified, the main ones being the following: underdeveloped regional network of innovative wholesale markets, technological backwardness of their trade business processes and insufficient level of logistics; non-prevalence of practices of integration and cooperation between the subjects of the agricultural sector of the economy, insufficient socio-psychological incentives for the implementation of integration processes, the lack of agrarian-industrial clusters; insufficient level of logistical support for the development of agricultural market infrastructure and neglect of road transport in rural areas; underdeveloped infrastructure of exchange trading facilities. A set of innovative approaches to the development of agricultural market infrastructure is proposed: development of a regional network of innovative wholesale objects (formation of agro-industrial clusters, implementation of a comprehensive program of regional markets development, introduction of public-private partnership mechanisms); innovative modernization of logistics support of the agricultural market (instruments of grant and project support, equipment leasing and preferential lending, diversification of transport flows of agricultural entities); development of innovative horizontal-vertical integration structures (formation of social and psychological incentives for integration, implementation of information and promotion campaign, state support for the development of cooperation); development of agricultural stock trading (reduction of bureaucratic obstacles, consulting support for concluding stock trading contracts, attracting foreign investment).

The socio-economic reasons of conflicts are numerous. Their premises are very different factors of the economic history of the arabic states. Among most important is the unevenness of their economic development both in the colonial and in the postcolonial periods. Until gaining independence the arabic states were on the different levels of the socio-economic development. One may explain this by many reasons of the political, geographic and socio-economic character. The most important among them are the level of development of the capitalism, the geographic proximity of the arabic states to Europe and generally to their metropolises, the military-strategic situation, the presence of the colonies of migrants from metropolises and of the national communities from other European states, the discovery of rich resources of raw materials, the influence of of the neighbouring countries’s cultures on the process of their historic and socio-economic development. As a result of long historical influence of these and many others factors different arabic countries achieved independence, but all of them were backward agrarian countries. Therefore the main differences among them manifested themselves in the degree of the backwardness Not a single arabic country had the developed manufacturing industry, which production would go to export. Some mining and oil enterprises, which were present in some of them belonged mainly to the foreign capital and practically were the heterogeneous formation in the extremely backward agrarian economy with undeveloped production forces. Only in some of these countries the light and food industry was functioning. In other branches of economy small and smallest enterprises predominated, based on personal labour of their owners and their families, who used primitive means of production. The poor possibilities of competition, the low efficiency of production mechanisms, the extreme unevenness of available natural potentials, financial and human resources, in particular skilled labour, as well as the impact of the interstate and military conflicts, the processes of globalization and growth rates of the economic development led the arabic countries to in the beginning of the new century to very different and even polar results, the main indicator of which is the gross domestic product per capita. The historic experience demonstrates, that the more is the gross domestic product of any country, the bigger state apparatus, including military forces, it may afford and use it actively for its internal as well as foreign policy. For example, arabic state Qatar in 2011 used its military forces for the overthrow of the Kaddafi regime, what led Libya to the state of collapse, and turned it to a conglomerate of several quasi-states, which are connected together by the necessity to produce and to sell oil. If to take the whole period, more than half of the century, of the existence of the arabic countries as independent states , one would hardly find any years during which the peace persisted in their territories. There have been constant military-political conflicts in different parts of the arabic world, as well as between the arabic countries and their afro-asiatic neighbours.

The priority of the agrarian vector of development is for Ukraine not only a historical reality, but also an opportunity to occupy an important place in the system of international economic integration. This is facilitated by the powerful natural resource potential and strong historical traditions. Today, the transformational processes taking place in the modern economy lead to the restructuring of agricultural production on a new technological and socio-economic basis, which requires the formation of a more rational management mechanism, the most important component of which is fixed capital. Slowing down the development of domestic agricultural machinery in combination with unsatisfactory volumes of replacement of shortages with corresponding imports deepens the problem of technical re-equipment of the main assets of agricultural enterprises. They are often morally obsolete and physically worn out, which leads to the technological backwardness of agricultural enterprises. A natural consequence is a decrease in economic efficiency and an increase in the energy and resource intensity of both products and production as a whole. Qualitative reform of agricultural industries in the direction of their technical and technological reequipment, provided that the requirements of efficiency and increase in production productivity are taken into account, is a way to realize the existing potential of the agricultural industry, including export, and will lead agricultural producers to economic independence and stability. The purpose of the study is the scientific justification of approaches to the formation of the fixed capital of agricultural enterprises and the development of practical recommendations for increasing the efficiency of its use, as a basis for the growth of the economic potential and the effectiveness of the enterprises. The principles of regulating the process of formation and reproduction of the fixed capital of agricultural enterprises as a condition for the implementation of extended reproduction using the developed methodical approach, which is based on the adaptation of self-financing mechanisms to the modern economic conditions of agricultural enterprises of various specializations with the priority of maintaining control over the financial condition of the enterprise, are substantiated. It is proposed to systematize the indicators according to the areas of analysis of the formation and use of fixed capital and supplement them with separate indicators that specify the impact of the size of the fixed capital on the unit cost of the manufactured products and the final result of the enterprises’ activities.

Дано авторское определение экономического потенциала как системы экономических возможностей эффективного использования имеющихся у предприятия ресурсов и получения максимума прибыли. Характеризуется состав экономического потенциала как совокупность производственных, трудовых, коммерческих и финансовых ресурсов, а также показатели эффективности экономического потенциала в виде ресурсоотдачи и финансовых коэффициентов. Анализируется влияние величины элементов экономического потенциала на результативность и эффективность деятельности сельскохозяйственных предприятий методом группировки по уровню рентабельности затрат на примере 74 сельскохозяйственных предприятий молочного направления с поголовьем коров более 200 голов. Результаты исследования показали, что для обеспечения высокой эффективности деятельности сельскохозяйственным предприятиям необходимо иметь достаточные величины ресурсов, производственного, коммерческого и финансового потенциалов. Выявлено таких предприятий 17,6% от общего количества, взятого для анализа. Более половины анализируемых предприятий убыточны (39,1%) и низкорентабельны (37,8%). Та же тенденция прослеживается и в показателях эффективности. В целях обеспечения условий экономической эффективности и устойчивости деятельности сельскохозяйственных предприятий региона авторами предложены концептуальные подходы к обоснованию перспективных направлений формирования эффективного экономического потенциала в аграрной сфере. Подходы основаны на учёте проблем (правовых, экономических, организационно-технологических и социальных) и на реализации критериев выбора направлений через осознание объективной необходимости преодоления отсталости развития агрохозяйственной сферы и других отраслей АПК, увеличения воспроизводства и нарастания экономического плодородия земель сельскохозяйственного назначения, усиления и целевой направленности государственной поддержки субъектов аграрной сферы в части обеспечения поступательного развития сельской экономики и сельских территорий путём разработки и осуществления целевых программ. The authors' definition the economic potential as a system of economic opportunities for the effective use of resources available to the enterprise and receipt of maximum profit has been given. The composition of the economic potential is characterized as a combination of production, labor, commercial and financial resources, as well as indicators of the effectiveness of the economic potential in the form of resource productivity and financial ratios. The influence of the value of the elements of economic potential on the efficiency and effectiveness of agricultural enterprises by the method of grouping by the level of cost-effectiveness is analyzed on the example of 74 agricultural enterprises of the milk sector with a cow population of more than 200 animals. The results of the research showed that in order to ensure high efficiency of agricultural enterprises activities need to have sufficient resources of production, commercial and financial potentials. Such enterprises 17.6% of the total number taken for analysis were identified. More than half of the analyzed enterprises are unprofitable (39.1%) and low-gain (37.8%). The same trend can be seen in performance indicators. In order to ensure the conditions of economic efficiency and sustainability of the agricultural enterprises of the region the authors proposed conceptual approaches to substantiate the promising areas for the formation of an effective economic potential in the agricultural sector. The approaches are based on the consideration of problems (legal, economic, organizational, technological and social) and on the implementation of the criteria for choosing directions through perception of the objective necessity to overcome the backwardness of the development of the agricultural sector and other sectors of the agro-industrial complex, increase reproduction and increase the economic fertility of agriculturally used areas, strengthen and target state support of agrarian system entities in terms of ensuring the progressive advance of the rural economy and rural areas through the development and implementation of target programs.

Despite the now-traditional tendency of noir scholarship to call attention to the retrospective and constructed nature of this genre— James Naremore argues that film noir is best regarded as a “mythology”— one feature that has rarely come under question is its association with the city (2). Despite the existence of numerous rural noirs, the depiction of urban space is associated with this genre more consistently than any other element. Even in critical accounts that attempt to deconstruct the solidity of the noir genre, the city is left as an implicit inclusion, and the country, an implict exclusion. Naremore, for example, does not include the urban environment in a list of the central tenets of film noir that he calls into question: “nothing links together all the things described as noir—not the theme of crime, not a cinematographic technique, not even a resistance to Aristotelian narratives or happy endings” (10). Elizabeth Cowie identifies film noir a “fantasy,” whose “tenuous critical status” has been compensated for “by a tenacity of critical use” (121). As part of Cowie’s project, to revise the assumption that noirs are almost exclusively male-centered, she cites character types, visual style, and narrative tendencies, but never urban spaces, as familiar elements of noir that ought to be reconsidered. If the city is rarely tackled as an unnecessary or part-time element of film noir in discursive studies, it is often the first trait identified by critics in the kind of formative, characteristic-compiling studies that Cowie and Naremore work against.Andrew Dickos opens Street with No Name: A History of the Classic American Film Noir with a list of noir’s key attributes. The first item is “an urban setting or at least an urban influence” (6). Nicholas Christopher maintains that “the city is the seedbed of film noir. […] However one tries to define or explain noir, the common denominator must always be the city. The two are inseparable” (37). Though the tendencies of noir scholars— both constructive and deconstructive— might lead readers to believe otherwise, rural locations figure prominently in a number of noir films. I will show that the noir genre is, indeed, flexible enough to encompass many films set predominantly or partly in rural locations. Steve Neale, who encourages scholars to work with genre terms familiar to original audiences, would point out that the rural noir is an academic discovery not an industry term, or one with much popular currency (166). Still, this does not lessen the critical usefulness of this subgenre, or its implications for noir scholarship.While structuralist and post-structuralist modes of criticism dominated film genre criticism in the 1970s and 80s, as Thomas Schatz has pointed out, these approaches often sacrifice close attention to film texts, for more abstract, high-stakes observations: “while there is certainly a degree to which virtually every mass-mediated cultural artifact can be examined from [a mythical or ideological] perspective, there appears to be a point at which we tend to lose sight of the initial object of inquiry” (100). Though my reading of these films sidesteps attention to social and political concerns, this article performs the no-less-important task of clarifying the textual features of this sub-genre. To this end, I will survey the tendencies of the rural noir more generally, mentioning more than ten films that fit this subgenre, before narrowing my analysis to a reading of Moonrise (Frank Borzage, 1948), Thieves’ Highway (Jules Dassin, 1949), They Live By Night (Nicholas Ray, 1949) and On Dangerous Ground (Nicholas Ray, 1952). Robert Mitchum tries to escape his criminal life by settling in a small, mountain-side town in Out of the Past (Jacques Tourneur, 1947). A foggy marsh provides a dramatic setting for the Bonnie and Clyde-like demise of lovers on the run in Gun Crazy (Joseph Lewis, 1950). In The Asphalt Jungle (John Huston, 1950), Sterling Hayden longs to return home after he is forced to abandon his childhood horse farm for a life of organised crime in the city. Rob Ryan plays a cop unable to control his violent impulses in On Dangerous Ground (Nicholas Ray, 1952). He is re-assigned from New York City to a rural community up-state in hopes that a less chaotic environment will have a curative effect. The apple orchards of Thieves’ Highway are no refuge from networks of criminal corruption. In They Live By Night, a pair of young lovers, try to leave their criminal lives behind, hiding out in farmhouses, cabins, and other pastoral locations in the American South. Finally, the location of prisons explains a number of sequences set in spare, road-side locations such as those in The Killer is Loose (Budd Boetticher, 1956), The Hitch-Hiker (Ida Lupino, 1953), and Raw Deal (Anthony Mann, 1948). What are some common tendencies of the rural noir? First, they usually feature both rural and urban settings, which allows the portrayal of one to be measured against the other. What we see of the city structures the definition of the country, and vice versa. Second, the lead character moves between these two locations by driving. For criminals, the car is more essential for survival in the country than in the city, so nearly all rural noirs are also road movies. Third, nature often figures as a redemptive force for urbanites steeped in lives of crime. Fourth, the curative quality of the country is usually tied to a love interest in this location: the “nurturing woman” as defined by Janey Place, who encourages the protagonist to forsake his criminal life (60). Fifth, the country is never fully crime-free. In The Killer is Loose, for example, an escaped convict’s first victim is a farmer, whom he clubs before stealing his truck. The convict (Wendell Corey), then, easily slips through a motorcade with the farmer’s identification. Here, the sprawling countryside provides an effective cover for the killer. This farmland is not an innocent locale, but the criminal’s safety-net. In films where a well-intentioned lead attempts to put his criminal life behind him by moving to a remote location, urban associates have little trouble tracking him down. While the country often appears, to protagonists like Jeff in Out of the Past or Bowie in They Live By Night, as an ideal place to escape from crime, as these films unfold, violence reaches the countryside. If these are similar points, what are some differences among rural noirs? First, there are many differences by degree among the common elements listed above. For instance, some rural noirs present their location with unabashed romanticism, while others critique the idealisation of these locations; some “nurturing women” are complicit with criminal activity, while others are entirely innocent. Second, while noir films are commonly known for treating similar urban locations, Los Angeles in particular, these films feature a wide variety of locations: Out of the Past and Thieves’ Highway take place in California, the most common setting for rural noirs, but On Dangerous Ground is set in northern New England, They Live by Night takes place in the Depression-era South, Moonrise in Southern swampland, and the most dynamic scene of The Asphalt Jungle is in rural Kentucky. Third, these films also vary considerably in the balance of settings. If the three typical locations of the rural noir are the country, the city, and the road, the distribution of these three locations varies widely across these films. The location of The Asphalt Jungle matches the title until its dramatic conclusion. The Hitch-hiker, arguably a rural noir, is set in travelling cars, with just brief stops in the barren landscape outside. Two of the films I analyse, They Live By Night and Moonrise are set entirely in the country; a remarkable exception to the majority of films in this subgenre. There are only two other critical essays on the rural noir. In “Shadows in the Hinterland: Rural Noir,” Jonathan F. Bell contextualises the rural noir in terms of post-war transformations of the American landscape. He argues that these films express a forlorn faith in the agrarian myth while the U.S. was becoming increasingly developed and suburbanised. That is to say, the rural noir simultaneously reflects anxiety over the loss of rural land, but also the stubborn belief that the countryside will always exist, if the urbanite needs it as a refuge. Garry Morris suggests the following equation as the shortest way to state the thematic interest of this genre: “Noir = industrialisation + (thwarted) spirituality.” He attributes much of the malaise of noir protagonists to the inhospitable urban environment, “far from [society’s] pastoral and romantic and spiritual origins.” Where Bell focuses on nine films— Detour (1945), The Postman Always Rings Twice (1946), Out of the Past (1947), Key Largo (1948), Gun Crazy (1949), On Dangerous Ground (1952), The Hitch-Hiker (1953), Split Second (1953), and Killer’s Kiss (1955)— Morris’s much shorter article includes just The Asphalt Jungle (1950) and Gun Crazy. Of the four films I discuss, only On Dangerous Ground has previously been treated as part of this subgenre, though it has never been discussed alongside Nicholas Ray’s other rural noir. To further the development of the project that these authors have started— the formation of a rural noir corpus— I propose the inclusion of three additional films in this subgenre: Moonrise (1948), They Live by Night (1949), and Thieves’ Highway (1949). With both On Dangerous Ground and They Live by Night to his credit, Nicholas Ray has the distinction of being the most prolific director of rural noirs. In They Live by Night, two young lovers, Bowie (Farley Granger) and Keechie (Cathy O’Donnell), attempt to escape from their established criminal lives. Twenty-three year old Bowie has just been released from juvenile prison and finds rural Texas refreshing: “Out here, the air smells different,” he says. He meets Keechie through her father, a small time criminal organiser who would be happy to keep her secluded for life. When one of Bowie’s accomplices, Chicamaw (Howard DaSilva), shoots a policeman after a robbing a bank with Bowie, the young couple is forced to run. Foster Hirsch calls They Live by Night “a genre rarity, a sentimental noir” (34). The naïve blissfulness of their affection is associated with the primitive settings they navigate. Though Bowie and Keechie are the most sympathetic protagonists of any rural noir, this is no safeguard against an inevitable, characteristically noir demise. Janey Place writes, “the young lovers are doomed, but the possibility of their love transcends and redeems them both, and its failure criticises the urbanised world that will not let them live” (63). As indicated here, the country offers the young lovers refuge for some time, and their bond is depicted as wonderfully strong, but it is doomed by the stronger force of the law.Raymond Williams discusses how different characteristics are associated with urban and rural spaces:On the country has gathered the idea of a natural way of life: of peace, innocence, and simple virtue. On the city has gathered the idea of an achieved center: of learning, communication, light. Powerful hostile associations have also developed: on the city as a place of noise, worldliness and ambition; on the country as a place of backwardness, ignorance, limitation. (1) They Live By Night breaks down these dichotomies, showing the persistence of crime rooted in rural areas.Bowie desires to “get squared around” and live a more natural life with Keechie. Williams’ country adjectives— “peace, innocence, and simple virtue”— describe the nature of this relationship perfectly. Yet, criminal activity, usually associated with the city, has an overwhelmingly strong presence in this region and their lives. Bowie, following the doomed logic of many a crime film character, plans to launch a new, more honest life with cash raised in a heist. Keechie recognises the contradictions in this plan: “Fine way to get squared around, teaming with them. Stealing money and robbing banks. You’ll get in so deep trying to get squared, they’ll have enough to keep you in for two life times.” For Bowie, crime and the pursuit of love are inseparably bound, refuting the illusion of the pure and innocent countryside personified by characters like Mary Malden in On Dangerous Ground and Ann Miller in Out of the Past.In Ray’s other rural noir, On Dangerous Ground, a lonely, angry, and otherwise burned out cop, Wilson (Rob Ryan), finds both love and peace in his time away from the city. While on his up-state assignment, Wilson meets Mary Walden (Ida Lupino), a blind woman who lives a secluded life miles away from this already desolate, rural community. Mary has a calming influence on Wilson, and fits well within Janey Place’s notion of the archetypal nurturing woman in film noir: “The redemptive woman often represents or is part of a primal connection with nature and/or with the past, which are safe, static states rather than active, exciting ones, but she can sometimes offer the only transcendence possible in film noir” (63).If, as Colin McArthur observes, Ray’s characters frequently seek redemption in rural locales— “[protagonists] may reject progress and modernity; they may choose to go or are sent into primitive areas. […] The journeys which bring them closer to nature may also offer them hope of salvation” (124) — the conclusions of On Dangerous Ground versus They Live By Night offer two markedly different resolutions to this narrative. Where Bowie and Keechie’s life on the lam cannot be sustained, On Dangerous Ground, against the wishes of its director, portrays a much more romanticised version of pastoral life. According to Andrew Dickos, “Ray wanted to end the film on the ambivalent image of Jim Wilson returning to the bleak city,” after he had restored order up-state (132). The actual ending is more sentimental. Jim rushes back north to be with Mary. They passionately kiss in close-up, cueing an exuberant orchestral score as The End appears over a slow tracking shot of the majestic, snow covered landscape. In this way, On Dangerous Ground overturns the usual temporal associations of rural versus urban spaces. As Raymond Williams identifies, “The common image of the country is now an image of the past, and the common image of the city an image of the future” (297). For Wilson, by contrast, city life was no longer sustainable and rurality offers his best means for a future. Leo Marx noted in a variety of American pop culture, from Mark Twain to TV westerns and magazine advertising, a “yearning for a simpler, more harmonious style of life, and existence ‘closer to nature,’ that is the psychic root of all pastoralism— genuine and spurious” (Marx 6). Where most rural noirs expose the agrarian myth as a fantasy and a sham, On Dangerous Ground, exceptionally, perpetuates it as actual and effectual. Here, a bad cop is made good with a few days spent in a sparsely populated area and with a woman shaped by her rural upbringing.As opposed to On Dangerous Ground, where the protagonist’s movement from city to country matches his split identity as a formerly corrupt man wishing to be pure, Frank Borzage’s B-film Moonrise (1948) is located entirely in rural or small-town locations. Set in the fictional Southern town of Woodville, which spans swamps, lushly wooded streets and aging Antebellum mansions, the lead character finds good and bad within the same rural location and himself. Dan (Dane Clark) struggles to escape his legacy as the son of a murderer. This conflict is irreparably heightened when Dan kills a man (who had repeatedly teased and bullied him) in self-defence. The instability of Dan’s moral compass is expressed in the way he treats innocent elements of the natural world: flies, dogs, and, recalling Out of the Past, a local deaf boy. He is alternately cruel and kind. Dan is finally redeemed after seeking the advice of a black hermit, Mose (Rex Ingram), who lives in a ramshackle cabin by the swamp. He counsels Dan with the advice that men turn evil from “being lonesome,” not for having “bad blood.” When Dan, eventually, decides to confess to his crime, the sheriff finds him tenderly holding a search hound against a bucolic, rural backdrop. His complete comfortability with the landscape and its creatures finally allows Dan to reconcile the film’s opening opposition. He is no longer torturously in between good and evil, but openly recognises his wrongs and commits to do good in the future. If I had to select just a single shot to illustrate that noirs are set in rural locations more often than most scholarship would have us believe, it would be the opening sequence of Moonrise. From the first shot, this film associates rural locations with criminal elements. The credit sequence juxtaposes pooling water with an ominous brass score. In this disorienting opening, the camera travels from an image of water, to a group of men framed from the knees down. The camera dollies out and pans left, showing that these men, trudging solemnly, are another’s legal executioners. The frame tilts upward and we see a man hung in silhouette. This dense shot is followed by an image of a baby in a crib, also shadowed, the water again, and finally the execution scene. If this sequence is a thematic montage, it can also be discussed, more simply, as a series of establishing shots: a series of images that, seemingly, could not be more opposed— a baby, a universal symbol of innocence, set against the ominous execution, cruel experience— are paired together by virtue of their common location. The montage continues, showing that the baby is the son of the condemned man. As Dan struggles with the legacy of his father throughout the film, this opening shot continues to inform our reading of this character, split between the potential for good or evil.What a baby is to Moonrise, or, to cite a more familiar reference, what the insurance business is to many a James M. Cain roman noir, produce distribution is to Jules Dassin’s Thieves’ Highway (1949). The apple, often a part of wholesome American myths, is at the centre of this story about corruption. Here, a distribution network that brings Americans this hearty, simple product is connected with criminal activity and violent abuses of power more commonly portrayed in connection with cinematic staples of organised crime such as bootlegging or robbery. This film portrays bad apples in the apple business, showing that no profit driven enterprise— no matter how traditional or rural— is beyond the reach of corruption.Fitting the nature of this subject, numerous scenes in the Dassin film take place in the daylight (in addition to darkness), and in the countryside (in addition to the city) as we move between wine and apple country to the market districts of San Francisco. But if the subject and setting of Thieves’ Highway are unusual for a noir, the behaviour of its characters is not. Spare, bright country landscapes form the backdrop for prototypical noir behaviour: predatory competition for money and power.As one would expect of a film noir, the subject of apple distribution is portrayed with dynamic violence. In the most exciting scene of the film, a truck careens off the road after a long pursuit from rival sellers. Apples scatter across a hillside as the truck bursts into flames. This scene is held in a long-shot, as unscrupulous thugs gather the produce for sale while the unfortunate driver burns to death. Here, the reputedly innocent American apple is subject to cold-blooded, profit-maximizing calculations as much as the more typical topics of noir such as blackmail, fraud, or murder. Passages on desolate roads and at apple orchards qualify Thieves’ Highway as a rural noir; the dark, cynical manner in which capitalist enterprise is treated is resonant with nearly all film noirs. Thieves’ Highway follows a common narrative pattern amongst rural noirs to gradually reveal rural spaces as connected to criminality in urban locations. Typically, this disillusioning fact is narrated from the perspective of a lead character who first has a greater sense of safety in rural settings but learns, over the course of the story, to be more wary in all locations. In Thieves’, Nick’s hope that apple-delivery might earn an honest dollar (he is the only driver to treat the orchard owners fairly) gradually gives way to an awareness of the inevitable corruption that has taken over this enterprise at all levels of production, from farmer, to trucker, to wholesaler, and thus, at all locations, the country, the road, and the city.Between this essay, and the previous work of Morris and Bell on the subject, we are developing a more complete survey of the rural noir. Where Bell’s and Morris’s essays focus more resolutely on rural noirs that relied on the contrast of the city versus the country— which, significantly, was the first tendency of this subgenre that I observed— Moonrise and They Live By Night demonstrate that this genre can work entirely apart from the city. From start to finish, these films take place in small towns and rural locations. As opposed to Out of the Past, On Dangerous Ground, or The Asphalt Jungle, characters are never pulled back to, nor flee from, an urban life of crime. Instead, vices that are commonly associated with the city have a free-standing life in the rural locations that are often thought of as a refuge from these harsh elements. If both Bell and Morris study the way that rural noirs draw differences between the city and country, two of the three films I add to the subgenre constitute more complete rural noirs, films that work wholly outside urban locations, not just in contrast with it. Bell, like me, notes considerable variety in rural noirs locations, “desert landscapes, farms, mountains, and forests all qualify as settings for consideration,” but he also notes that “Diverse as these landscapes are, this set of films uses them in surprisingly like-minded fashion to achieve a counterpoint to the ubiquitous noir city” (219). In Bell’s analysis, all nine films he studies, feature significant urban segments. He is, in fact, so inclusive as to discuss Stanley Kubrick’s Killer’s Kiss as a rural noir even though it does not contain a single frame shot or set outside of New York City. Rurality is evoked only as a possibility, as alienated urbanite Davy (Jamie Smith) receives letters from his horse-farm-running relatives. Reading these letters offers Davy brief moments of respite from drudgerous city spaces such as the subway and his cramped apartment. In its emphasis on the centrality of rural locations, my project is more similar to David Bell’s work on the rural in horror films than to Jonathan F. Bell’s work on the rural noir. David Bell analyses the way that contemporary horror films work against a “long tradition” of the “idyllic rural” in many Western texts (95). As opposed to works “from Henry David Thoreau and Walt Whitman to contemporary television shows like Northern Exposure and films such as A River Runs Through It or Grand Canyon” in which the rural is positioned as “a restorative to urban anomie,” David Bell analyses films such as Deliverance and The Texas Chainsaw Massacre that depict “a series of anti-idyllic visions of the rural” (95). Moonrise and They Live By Night, like these horror films, portray the crime and the country as coexistent spheres at the same time that the majority of other popular culture, including noirs like Killer’s Kiss or On Dangerous Ground, portray them as mutually exclusive.To use a mode of generic analysis developed by Rick Altman, the rural noir, while preserving the dominant syntax of other noirs, presents a remarkably different semantic element (31). Consider the following description of the genre, from the introduction to Film Noir: An Encyclopedic Reference Guide: “The darkness that fills the mirror of the past, which lurks in a dark corner or obscures a dark passage out of the oppressively dark city, is not merely the key adjective of so many film noir titles but the obvious metaphor for the condition of the protagonist’s mind” (Silver and Ward, 4). In this instance, the narrative elements, or syntax, of film noir outlined by Silver and Ward do not require revision, but the urban location, a semantic element, does. Moonrise and They Live By Night demonstrate the sustainability of the aforementioned syntactic elements— the dark, psychological experience of the leads and their inescapable criminal past— apart from the familiar semantic element of the city.The rural noir must also cause us to reconsider— beyond rural representations or film noir— more generally pitched genre theories. Consider the importance of place to film genre, the majority of which are defined by a typical setting: for melodramas, it is the family home, for Westerns, the American west, and for musicals, the stage. Thomas Schatz separates American genres according to their setting, between genres which deal with “determinate” versus “indeterminate” space:There is a vital distinction between kinds of generic settings and conflicts. Certain genres […] have conflicts that, indigenous to the environment, reflect the physical and ideological struggle for its control. […] Other genres have conflicts that are not indigenous to the locale but are the results of the conflict between the values, attitudes, and actions of its principal characters and the ‘civilised’ setting they inhabit. (26) Schatz discusses noirs, along with detective films, as films which trade in “determinate” settings, limited to the space of the city. The rural noir slips between Schatz’s dichotomy, moving past the space of the city, but not into the civilised, tame settings of the genres of “indeterminate spaces.” It is only fitting that a genre whose very definition lies in its disruption of Hollywood norms— trading high- for low-key lighting, effectual male protagonists for helpless ones, and a confident, coherent worldview for a more paranoid, unstable one would, finally, be able to accommodate a variation— the rural noir— that would seem to upset one of its central tenets, an urban locale. Considering the long list of Hollywood standards that film noirs violated, according to two of its original explicators, Raymond Borde and Etienne Chaumeton— “a logical action, an evident distinction between good and evil, well-defined characters with clear motives, scenes that are more spectacular than brutal, a heroine who is exquisitely feminine and a hero who is honest”— it should, perhaps, not be so surprising that the genre is flexible enough to accommodate the existence of the rural noir after all (14). AcknowledgmentsIn addition to M/C Journal's anonymous readers, the author would like to thank Corey Creekmur, Mike Slowik, Barbara Steinson, and Andrew Gorman-Murray for their helpful suggestions. ReferencesAltman, Rick. “A Semantic/Syntactic Approach to Film Genre.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 27-41.The Asphalt Jungle. Dir. John Huston. MGM/UA, 1950.Bell, David. “Anti-Idyll: Rural Horror.” Contested Countryside Cultures. Eds. Paul Cloke and Jo Little. London, Routledge, 1997. 94-108.Bell, Jonathan F. “Shadows in the Hinterland: Rural Noir.” Architecture and Film. Ed. Mark Lamster. New York: Princeton Architectural P, 2000. 217-230.Borde, Raymond and Etienne Chaumeton. A Panorama of American Film Noir. San Francisco: City Lights Books, 2002.Christopher, Nicholas. Somewhere in the Night: Film Noir and the American City. New York: Simon and Schuster, 1997.Cowie, Elizabeth. “Film Noir and Women.” Shades of Noir. Ed. Joan Copjec. New York: Verso, 1993. 121-166.Dickos, Andrew. Street with No Name: A History of the Classic American Film Noir. Lexington: UP of Kentucky, 2002.Hirsch, Foster. Detours and Lost Highways: A Map of Neo-Noir. New York: Limelight Editions, 1999.Marx, Leo. The Machine in the Garden. New York: Oxford UP, 1964.McArthur, Colin. Underworld U.S.A. London: BFI, 1972.Moonrise. Dir. Frank Borzage. Republic, 1948.Morris, Gary. “Noir Country: Alien Nation.” Bright Lights Film Journal Nov. 2006. 13. Jun. 2008 http://www.brightlightsfilm.com/54/noircountry.htm Muller, Eddie. Dark City: The Lost World of Film Noir. New York: St. Martin’s P, 1998.Naremore, James. More Than Night: Film Noir in its Contexts. Berkeley, C.A.: U of California P, 2008.Neale, Steve. “Questions of Genre.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 160-184.On Dangerous Ground. Dir. Nicholas Ray. RKO, 1951.Out of the Past. Dir. Jacques Tourneur. RKO, 1947.Place, Janey. “Women in Film Noir.” Women in Film Noir. Ed. E. Ann Kaplan. London: BFI, 1999. 47-68.Schatz, Thomas. Hollywood Genres. New York: Random House, 1981.Schatz, Thomas. “The Structural Influence: New Directions in Film Genre Study.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 92-102.Silver, Alain and Elizabeth Ward. Film Noir: An Encyclopedic Reference Guide. London: Bloomsbury, 1980.They Live by Night. Dir. Nicholas Ray. RKO, 1949.Thieves’ Highway. Dir. Jules Dassin. Fox, 1949.Williams, Raymond. The Country and the City. New York: Oxford UP, 1973.